Game Show One Sheet

​         PROJECT: TOONED

​         ROLE:  WRITER/CARTOONIST/CHARACTER AND STORYWORLD DEVELOPMENT 

         CONCEPT:  An allegory investigating the eminence of convergence and demands of diversity, 

                          framed as an origin story for The Startoons, introducing Kik and Snowflake, a brother                            and sister duo, whose special powers of invention and discovery help save a cartoon                              universe on the brink of an unprecedented "inside-television" storyworld catastrophe.​

Process FLOW (2pp.)

Social Cinema Initiative and Rated-S

​My first experience with film noir led me to believe that there must be a way to tell

stories that reflect a more affirmative side of human nature. This imprint stayed

with me after undergraduate studies and took on the form of a ratings design, rather

than a genre.  

In studying the MPAA, it appeared that generational ratings creep was in essence

a greater tolerance for moral ambiguity, which became codified in the PG-13 hybrid

of Rated-G and Rated-R. With more permissible content a movie could appeal to a broader audience base, categorized as a tolerance for mild rather than strong

depictions of drugs, language, sexuality and violence.

This affirmed my premise, that a new ratings design might be needed, to accomplish  

my goal of defining a humanistic cinema with actionable social goals that a development platform for forward looking storytellers. Withholding 

judgement against the increasingly ambiguous morality evident in Hollywood productions,

I considered that a Rated-S film could be either categorical, a full Rated-S, or scaled, like 

a Silver, Gold or Platinum LEED building. tansposed, narrative design criteria could be contained as sustainable, social and spectacular rating levels, with an "-S" added to any other designated MPAA rating (e.g. PG13-S). A description of Rated-S standards and protocols, i.e. narrative design criteria, to propose and launch a Social Cinema Initiatives, but having met Curtis Clark who pioneered ACES, and studied t

The role of DCI in the transition of Hollywood to a digital cinema workflow, forecasts a parallax between a medium-based technology and a content-based technology that is suggested by a paradigm shift for content development potentiated by SCI standards and protocols, with new business models supporting augmented development workflows.

there is already an industry climate focused on disruptive innovation  and paradigm shifts that impact business models.  

A description of Rated-S standards and protocols, i.e. narrative design criteria, to propose and launch a Social Cinema Initiatives, but having met Curtis Clark who pioneered ACES, and studied t

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​         PROJECT: TEDDY RUXPIN

​         ROLE:  WRITER/CHARACTER DEVELOPMENT 

         SYNOPSIS:  An old teddy bear, reluctant to do his job telling stories, must face the outside

                          world after being replaced by a new toy. Donated to a rehab center for dogs

                          with anger management issues, he makes friends with other children's toys, 

                          whose daily lives have been reduced to surviving violent and aggressive animal 

                           behavior. Almost ripped apart by a cute little dog, Teddy remembers his dream

                           "to go be in a story," where he finds his missing owner, a little girl he helped raise.

                           But the outside world is no place for a toy, especially a toy without his own story.

WRitten PITCH (1p.)

​         PROJECT: THE CUPLESS KING OF VIDÉO (Based on Original Children's Fable)

​         ROLE:  WRITER/AUTHOR

         CONCEPT:  A rebellious prince discovers a kingdom and the character of its people, while

                          searching for a young man ejected by his father due to a lack of virtue. Sensing

                          there is more outside the kingdom walls, he wagers his privilege for knowledge, on a

                          journey that leads to long suffering and struggle, that might enable him to fill his cup.

"NARRATIVE DESIGN"
​TREATMENTS

SCI Story Ecosystem

Screenplay (5pp.)

CROWDSOURCE FOOD DESIGN

Pre-WritING,

WRITING,

AND RE-WRITING

Essay (5pp.)

SPACE WEATHER ODYSSEY

LOGLINE: An experimental group home takes in homeless youth, and helps them restructure by gaining cognitive skills. At the "Experience Academy for Young Poets" language and ideas are as real as engines, weather systems and making friends.

WRitten PITCH (1p.)

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Like visual development (aka pre-viz), pre-writing allows the writer to design content goals that provide

a rigging for the story property. By crafting an argument that considers moral choice and social context,

Hollywood can leverage the familiarity of genre, making escape films more relevant to our social progress.

Another component of Rated-S is to make films more actionable

Short Film One Sheet 

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Just like a film is written three times – before greenlighting, during principle photography,

and during post-production – I articulate three phases of writing practice:  1) pre-writing,

2) writing, and 3) re-writing.

Pre-writing is architectural. It involves crafting an argument that can be presented through

character, plot, and other storyworld assets. For a screenwriter this is akin to visual development

or storyboarding, but in concepts and words.

A title, genre, tagline, logline, premise, synopsis, beat sheet, step outline, and other storyworld

research, collectively shape a treatment that can be used to build an IP, a unique narrative property

able to impact viewers.

The next two phases, writing and re-writing are non-linear in the sense that they primarly occur after pre-writing  

ideas are shared through art   how cinematic stories communicatebecame narrative design criteria


for achieving a ratings design. 

NEW MPAA RATINGS DESIGN

SIDECAR ARGUMENT FOR #MeToo

Short Film Research